The chapter introduces drama in the UK from 1936 to 1955. Whereas, the pre-1955 era represents the most unexplored period of television drama production (and of television in general), the post-1955 ...
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The chapter introduces drama in the UK from 1936 to 1955. Whereas, the pre-1955 era represents the most unexplored period of television drama production (and of television in general), the post-1955 period is considered to be a transitional one, between a near total reliance on live studio drama productions, and the increasing use of pre-recorded material, on tape and film. The importance of ‘intimacy’ in the context of early television drama, as interpreted by critics and producers in terms of the reception of television is highlighted. Developments relating to ‘telerecording’, and ‘videotapes’, are cited. Telerecording, introduced in the BBC, was meant to address the needs of an expanding national audience. The chapter also compares the developments in context of television drama between the period 1936 and 1955, and that of the period post-1955.Less

The Intimate Screen

Jason Jacobs

Published in print: 2000-02-24

The chapter introduces drama in the UK from 1936 to 1955. Whereas, the pre-1955 era represents the most unexplored period of television drama production (and of television in general), the post-1955 period is considered to be a transitional one, between a near total reliance on live studio drama productions, and the increasing use of pre-recorded material, on tape and film. The importance of ‘intimacy’ in the context of early television drama, as interpreted by critics and producers in terms of the reception of television is highlighted. Developments relating to ‘telerecording’, and ‘videotapes’, are cited. Telerecording, introduced in the BBC, was meant to address the needs of an expanding national audience. The chapter also compares the developments in context of television drama between the period 1936 and 1955, and that of the period post-1955.

The combination of film and television camera image sources resulted in television's maturation, thereby resulting in increased ease in the recording of programmes. The establishment of new ...
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The combination of film and television camera image sources resulted in television's maturation, thereby resulting in increased ease in the recording of programmes. The establishment of new transmitters facilitated the expansion of television coverage. The consolidation of the drama schedule matched the departmentalization, subdivision, and routinization of the production process. One of the significant changes was the scheduling of telerecorded plays instead of live repeats. Telerecording of a live drama production and the subsequent repeat of the telerecording became more common, even though live repeats of drama productions continued. Live drama performances and production, and its technical nuances are highlighted.Less

‘Lost not cosy’: Expanding the Screen of Television Drama, 1951–55

Jason Jacobs

Published in print: 2000-02-24

The combination of film and television camera image sources resulted in television's maturation, thereby resulting in increased ease in the recording of programmes. The establishment of new transmitters facilitated the expansion of television coverage. The consolidation of the drama schedule matched the departmentalization, subdivision, and routinization of the production process. One of the significant changes was the scheduling of telerecorded plays instead of live repeats. Telerecording of a live drama production and the subsequent repeat of the telerecording became more common, even though live repeats of drama productions continued. Live drama performances and production, and its technical nuances are highlighted.

The chapter presents an account of photographed stage play as a form of television drama during the period 1936–39. The idea of the ‘photographed stage play’ seemed static, boring, and relayed, with ...
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The chapter presents an account of photographed stage play as a form of television drama during the period 1936–39. The idea of the ‘photographed stage play’ seemed static, boring, and relayed, with due reverence to the performance or to the television audience. There were two ideologies surrounding this form of television drama, firstly the idea that fewer rehearsals were needed, as the actors would be familiar with their lines, so they could save time and space, secondly, outside broadcasts (OBs) of live stage performances transmitted by television cameras from the theatre. The weekly alternation between Baird and EMI television systems had a significant impact on the length and type of programmes that could be seen until late 1936. Once the Baird system was shut down, there was some standardization in the schedules, as the EMI-Marconi system was both more mobile and more flexible, as it could deploy multiple cameras. The relationship between the words and pictures in terms of family relations during the pre-war period, and the relation between television and other media expressed explicitly in terms of the ‘family of media’ in the post-war years is exemplified in this chapter.Less

The End of the Photographed Stage Play: Television Drama, 1936–39

Jason Jacobs

Published in print: 2000-02-24

The chapter presents an account of photographed stage play as a form of television drama during the period 1936–39. The idea of the ‘photographed stage play’ seemed static, boring, and relayed, with due reverence to the performance or to the television audience. There were two ideologies surrounding this form of television drama, firstly the idea that fewer rehearsals were needed, as the actors would be familiar with their lines, so they could save time and space, secondly, outside broadcasts (OBs) of live stage performances transmitted by television cameras from the theatre. The weekly alternation between Baird and EMI television systems had a significant impact on the length and type of programmes that could be seen until late 1936. Once the Baird system was shut down, there was some standardization in the schedules, as the EMI-Marconi system was both more mobile and more flexible, as it could deploy multiple cameras. The relationship between the words and pictures in terms of family relations during the pre-war period, and the relation between television and other media expressed explicitly in terms of the ‘family of media’ in the post-war years is exemplified in this chapter.

Television drama in the late 1940s seemed to have a continuing uncertainty about the themes, form, and style it was taking. This brings to fore the ways in which the television service during this ...
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Television drama in the late 1940s seemed to have a continuing uncertainty about the themes, form, and style it was taking. This brings to fore the ways in which the television service during this period was reddening itself with a prominent aid from television drama. Even though the post-war period saw an increase in the amount of drama on screen, repeat telecast of the plays was still considerable more reliable. The fact that mystery-murder and ‘horror’ productions were preferred during the post-war period along with drama with wartime themes, is exemplified by the late 1940s drama schedules of producing plays of the Gothic, supernatural, or thriller genres, generically known by television management as ‘Horror Plays’. The reopening of post-war service saw technical and stylistic changes such as those regarding camera movements, along with changes in programme content and scheduling.Less

The Illustrated Broadcast? Defining Television Drama, 1946–50

Jason Jacobs

Published in print: 2000-02-24

Television drama in the late 1940s seemed to have a continuing uncertainty about the themes, form, and style it was taking. This brings to fore the ways in which the television service during this period was reddening itself with a prominent aid from television drama. Even though the post-war period saw an increase in the amount of drama on screen, repeat telecast of the plays was still considerable more reliable. The fact that mystery-murder and ‘horror’ productions were preferred during the post-war period along with drama with wartime themes, is exemplified by the late 1940s drama schedules of producing plays of the Gothic, supernatural, or thriller genres, generically known by television management as ‘Horror Plays’. The reopening of post-war service saw technical and stylistic changes such as those regarding camera movements, along with changes in programme content and scheduling.

This book explores the formative period of British television drama, concentrating on the years 1936–55. It examines the continuities and changes of early television drama, and the impact this had ...
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This book explores the formative period of British television drama, concentrating on the years 1936–55. It examines the continuities and changes of early television drama, and the impact this had upon the subsequent ‘golden age’. In particular, it questions the caricature of early television drama as ‘photographed stage plays’ and argues that early television pioneers in fact produced a diverse range of innovative drama productions, using a wide range of techniques. It also explores the often competing definitions about the form and aesthetics of early television drama both inside and outside the BBC. Given the absence of an audio-visual record of early television drama, the book uses written archive material in order to reconstruct how early television drama looked, and how it was considered by producers and critics, whilst also offering a critical examination of surviving dramas, such as Rudolph Cartier's Nineteen Eighty-Four.Less

The Intimate Screen : Early British Television Drama

Jason Jacobs

Published in print: 2000-02-24

This book explores the formative period of British television drama, concentrating on the years 1936–55. It examines the continuities and changes of early television drama, and the impact this had upon the subsequent ‘golden age’. In particular, it questions the caricature of early television drama as ‘photographed stage plays’ and argues that early television pioneers in fact produced a diverse range of innovative drama productions, using a wide range of techniques. It also explores the often competing definitions about the form and aesthetics of early television drama both inside and outside the BBC. Given the absence of an audio-visual record of early television drama, the book uses written archive material in order to reconstruct how early television drama looked, and how it was considered by producers and critics, whilst also offering a critical examination of surviving dramas, such as Rudolph Cartier's Nineteen Eighty-Four.

This chapter examines the function of music as a veritable navigator through television “flow,” a term coined by Raymond Williams to describe the chain of texts (programs, commercials, station ...
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This chapter examines the function of music as a veritable navigator through television “flow,” a term coined by Raymond Williams to describe the chain of texts (programs, commercials, station breaks, etc.) that are broadcast on television through chronological time. Music is used to delineate three discursive, or narrative, spaces: the extradiegetic, the intradiegetic, and the diegetic, terms that are borrowed from Gérard Genette's theory of narrative agency. This chapter concludes with a comparative analysis of two early television dramatic anthology series, a 1949 episode of The Philco Television Playhouse and a 1963 episode of The Twilight Zone, wherein music serves as narrator on several levels.Less

“Hello Out There in TV Land” : Musical Agency in the Early Television Anthology Drama

Ron Rodman

Published in print: 2009-11-25

This chapter examines the function of music as a veritable navigator through television “flow,” a term coined by Raymond Williams to describe the chain of texts (programs, commercials, station breaks, etc.) that are broadcast on television through chronological time. Music is used to delineate three discursive, or narrative, spaces: the extradiegetic, the intradiegetic, and the diegetic, terms that are borrowed from Gérard Genette's theory of narrative agency. This chapter concludes with a comparative analysis of two early television dramatic anthology series, a 1949 episode of The Philco Television Playhouse and a 1963 episode of The Twilight Zone, wherein music serves as narrator on several levels.

This chapter examines South Korean drama and its rapid penetration into regional markets. Since the late 1990s, Korean popular culture has established a presence in Mainland China, Hong Kong SAR, ...
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This chapter examines South Korean drama and its rapid penetration into regional markets. Since the late 1990s, Korean popular culture has established a presence in Mainland China, Hong Kong SAR, Taiwan, Vietnam, and Japan. Korean television dramas have been at the forefront of the so-called Korean Wave, or hanliu, which has diversified the media and cultural landscape in Asia, in turn challenging the unilateral, top-down flow of globalization.Less

From the Margins to the Middle Kingdom: : Korean TV Drama’s Role in Linking Local and Transnational Production

Dong-Hoo Lee

Published in print: 2008-10-01

This chapter examines South Korean drama and its rapid penetration into regional markets. Since the late 1990s, Korean popular culture has established a presence in Mainland China, Hong Kong SAR, Taiwan, Vietnam, and Japan. Korean television dramas have been at the forefront of the so-called Korean Wave, or hanliu, which has diversified the media and cultural landscape in Asia, in turn challenging the unilateral, top-down flow of globalization.

Decorum, proportion, formal harmony, respect for tradition, mimesis, self-effacing craftsmanship, and cool control of the perceiver’s response make up Hollywood’s principles of classicalism. Devices, ...
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Decorum, proportion, formal harmony, respect for tradition, mimesis, self-effacing craftsmanship, and cool control of the perceiver’s response make up Hollywood’s principles of classicalism. Devices, systems, and the relationships between these systems also affect Hollywood’s ability to narrate a story. The classicalism of narrative causation that is typically exemplified in most films and plays is rarely present in television dramas, for these forms of distraction operate in a resolutely non-classical system. This chapter investigates the classical origins of television dramas as well as the realism and authorship that are associated with these distractions.Less

Art Television: Authorship and Irony

John Caughie

Published in print: 2000-02-24

Decorum, proportion, formal harmony, respect for tradition, mimesis, self-effacing craftsmanship, and cool control of the perceiver’s response make up Hollywood’s principles of classicalism. Devices, systems, and the relationships between these systems also affect Hollywood’s ability to narrate a story. The classicalism of narrative causation that is typically exemplified in most films and plays is rarely present in television dramas, for these forms of distraction operate in a resolutely non-classical system. This chapter investigates the classical origins of television dramas as well as the realism and authorship that are associated with these distractions.

It has been long established that television dramas and other television programs greatly affect the manner in which audiences perceive their realities along with the actual state of British ...
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It has been long established that television dramas and other television programs greatly affect the manner in which audiences perceive their realities along with the actual state of British politics, society, and culture, among other things. The debate whether popular television programs sufficiently represent the naturalism and realities of its audience has been continuously argued by various groups. Television critics have, then, conceptualized the term non-naturalism and modernism as a result of this contention. This chapter explores the non-naturalistic facet and criticism of British television dramas as well as the accuracy of its depiction of reality.Less

Modernism; or, Not ‘Non-naturalism’

John Caughie

Published in print: 2000-02-24

It has been long established that television dramas and other television programs greatly affect the manner in which audiences perceive their realities along with the actual state of British politics, society, and culture, among other things. The debate whether popular television programs sufficiently represent the naturalism and realities of its audience has been continuously argued by various groups. Television critics have, then, conceptualized the term non-naturalism and modernism as a result of this contention. This chapter explores the non-naturalistic facet and criticism of British television dramas as well as the accuracy of its depiction of reality.

This book offers an account of British television drama from its origins in live studio drama in the prewar and immediate postwar years, through the Golden Age of the single play in the 1960s and ...
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This book offers an account of British television drama from its origins in live studio drama in the prewar and immediate postwar years, through the Golden Age of the single play in the 1960s and 1970s, to its convergence with an emerging British art cinema in the 1990s. It relates the development of television drama to movements which were going on within the culture. In particular, it is concerned with a series of arguments and debates about politics and form which centred around issues of immediacy and naturalism, realism and modernism in public culture. The book addresses contemporary television in the form of the television film and the classic serial, and raises new questions about such issues as adaptation and acting. The importance of the book lies in its attempt to place television drama at the centre of late twentieth-century British culture and to relate the criticism of television drama to a wider history of aesthetic debates and arguments.Less

Television Drama : Realism, Modernism, and British Culture

John Caughie

Published in print: 2000-02-24

This book offers an account of British television drama from its origins in live studio drama in the prewar and immediate postwar years, through the Golden Age of the single play in the 1960s and 1970s, to its convergence with an emerging British art cinema in the 1990s. It relates the development of television drama to movements which were going on within the culture. In particular, it is concerned with a series of arguments and debates about politics and form which centred around issues of immediacy and naturalism, realism and modernism in public culture. The book addresses contemporary television in the form of the television film and the classic serial, and raises new questions about such issues as adaptation and acting. The importance of the book lies in its attempt to place television drama at the centre of late twentieth-century British culture and to relate the criticism of television drama to a wider history of aesthetic debates and arguments.